Francesco Xaverio Geminiani (1687-1762)
Concerti Op. 2 & 3 (1932)
L’Archicembalo
rec. 2024, Chiesa di Sant’Antonio Abate, Salabue di Ponzano Monferrato, Italy
Brilliant Classics 97383 [2 CDs: 98]
Although both dating from 1732 in their first editions as featured here, Geminiani’s two half-dozen collections of Concerti Grossi look back to the prototypes of his teacher Corelli’s Op. 6, published two decades previously, although almost certainly written some time before that at the end of the 17th century. Geminiani’s sets – particularly Op. 2 – generally don’t feature his mentor’s mercurial flights of virtuosic fancy, but their movements tend to exhibit instead the gentler character of Baroque dance forms, in spirit if not explicitly in name, and they wear their counterpoint lightly. As eight of the twelve Concertos here are written in the minor mode – of which six are in flat keys that particularly imply a sombre character in the context of music written for strings – the prevailing mood is notably introspective.
The one-to-a-part performances by L’Archicembalo suit the Concertos’ subdued intimacy quite well, therefore, even if the contributions by the concertino don’t contrast more strongly with the ripieno, or full ensemble, since the two soloists of the former are only pitted against the two other violinists of the latter. Smaller forces also expose a slight wiry rawness in the tone of the violins at times. The trade off in these small-scale interpretations, however, is an effective, homogeneous blend in texture and a rhythmic poise in music that comes across as chamber music. Usually the character is outgoing, but intriguingly the performers bring to bear a slightly husky, hushed quality in the Adagio of Op. 3 No. 2 that almost seems to look as far ahead as a late Beethoven Quartet, perhaps the Heiliger Dankgesang. The strange, chromatic harmonies of Op. 3 No. 6’s slow penultimate movement, played with a certain hollowness, also put one in mind of that latter Quartet, Op. 132, especially with Geminiani’s E minor chords hovering close to the bare tonality of Beethoven’s A minor.
L’Archicembalo’s musical feet are otherwise firmly rooted in the ground of the Baroque, with graceful accounts of these Concertos. Their poise brings out the rhythms of sprightly gigues and stately minuets, and antiphonal exchanges between different instrumental groups are executed stylishly. Slow movements are endowed with due solemnity and stillness. Additional colour is provided, for instance in the repeats of each half of the siciliano Adagio of Opus 2 No. 3 where the lower accompaniment is reprised pizzicato. The beautiful, but uncredited, solo violin line over each half is breathed as one sweet arc of melody, as though a concerto movement by Tartini. Some movements could broach more drama, for example with more fire in the rapid scales of the Presto opening to Op. 2 No. 2.
The ensemble’s consistency of approach throughout the dozen Concertos override any misgivings in individual movements, however, and this CD set usefully brings together two of Geminiani’s Concerti Grossi collections, usually only encountered separately.
Curtis Rogers
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